TITLE: The Marines

This series features 8 self-portraits in fragments, facets, disjointed pieces "the Marines". The body exposes itself in contact with elements referring to the marine universe. This contact is a touch of the epidermis: the turn of the kidneys and the neck, the breasts and the eyes, the lips and the legs, the hands and in the hair. In a light that dresses more than it reveals the nude of substances and tissues.

It is slowly a slow and serene long way away from the "Impressions" of the beginning that would seem, at first sight, innocent. It affirms the permanence of the gaze again focused on the relation of the man to its natural environment.

The body becomes tangential support to mother-of-pearl, shell, algae. Source and resource, immensity is fragile and rendered here in its biological dimension. A morphogenesis or a metamorphosis to the irregular rhythm of the pulsation of a pulse that panics, the irresistible trembling of fear.

AUTHOR: Marine Foissey (France)

One day his father offers him a semi professional Canon. A magic box that allows it to instantly keep track of traces and contrasts. She enters a photograph. She is 20 years old. It is his birthday.
In the following school year, she left the studies of art history and enrolled at Icart Photo. She will graduate in 2010.

See and Tell
As a committed photographer, she uses photography and affirms the place of discourse in her shots, which are so many positions and opposition. His reflection is under the sign of suffering and death. Between acidic irony and lucid derision, she confronts them without pathos. The sign is inscribed in a light writing like red iron.

Reality
She immediately invests the field of the gaze by a work of recomposition of reality in the studio. She remakes the world in her own image. Virtually. The five major series, Impressions realized in 2010, then the Cranial Boxes (2011), Exit (2012), the Marines in (2013), and recently Deadline portray everyday beings, objects and places that have become strangely absurd and Compacted in associations neither random nor automatic.

Way to Matter
His approach is focused on the shadow / light confrontation. The materiality of the world requires a careful and precise study of the contours, the holes, the fills, the hollows. The detail becomes the focal center from which the air and the sense of the whole evaporate.